Under the giant, illuminated Goodyear logo located east of downtown Akron, the polished granite, red brick and concrete exterior in the center of the rubber company’s former corporate campus looks fairly unassuming. But after walking through the doors into the Goodyear Theater, it’s easy to see why it’s attracting a diverse array of artists, including The Cult, Jason Isbell, Primus, Smashing Pumpkins and Dwight Yoakam. The spacious main hall and balcony of the latest addition to Akron’s growing musical culture captures the grandiose allure of a vintage orchestra stage hall. The character of this amazing venue was perfectly suited for one of England’s most enduring modern rock bands, Squeeze.
Glenn Tilbrook and Chris Difford have toured separately and together as a duo in the past, but this tour marks the return of Squeeze as a full band. Drummer Simon Hanson and keyboardist Steven Large have been performing with Glenn and Chris since the most recent formation took shape in 2007, and the recent additions of Yolanda Charles on bass and Steve Smith (from UK electronic remix outfit Dirty Vegas) on percussion helped keep the upbeat energy going between everyone on stage and in the audience.
Squeeze played a finely curated mix of trademark favorites mingled with cuts spanning their entire career. They started their set with Please Be Upstanding, a song from The Knowledge, their 15th studio album, released in October. The songs from the new album continue to showcase Tilbrook and Difford’s songwriting tandem of new wave British Soul, from upbeat pop tunes to heartfelt ballads. The new material definitely has their unique vibe as much as their past libraries of work, and adds more colors to their musical landscape. The country slide guitar on Patchouli, the operatic vocal solos of Rough Ride, and the bongo beat percussion of Albatross show Squeeze expanding and are not satisfied by standing creatively still.
With the second song of the set, they promptly moved into their classic hit, Pulling Mussels (from the Shell). Their set included a majority of songs from their 2010 album Spot the Difference, where they re-recorded their greatest hits in identical detail to the original recording. Squeeze’s live performance lived up to the same perfection with every song. They haven’t lost an ounce of the energy and vibrancy that has attracted music fans for decades.
Squeeze packed the last leg of their set with an all-star lineup of their biggest hits. The rhythm section took to the front of the stage for a rousing rendition of Take Me I’m Yours, with hand drums, marching snares, and accordion that got the crowd out of their seats. They kept the fans on their feet by bringing the show home with a rally of their best songs, including Tempted, Goodbye Girl and Up the Junction, and ultimately building up to the rapid disco keyboard melody of Slap and Tickle.
After a brief rest from their marathon performance, Squeeze returned to the stage to deliver an encore with two more of their most popular hits, Is That Love? and Black Coffee in Bed. During the final breakdown of Black Coffee in Bed, Glenn and Chris took time to introduce everyone in the band and gave them a moment to shine. The entire crowd stayed on their feet and helped end the night with a bright and soulful call and response of the song’s chorus. With a final gathering at the front of the stage, the band joined together for a final bow to Akron’s appreciative and devoted fans. Squeeze hasn’t lost a step in their stage and songwriting game, and the great response from their new material and their memorable catalog will have an incredible and expanding impact on music fans for a long time.
Dead in the center of the Rumba Cafe stage, surrounded by guitars resting on amps in a sea of wires and cables, stood Shondra. The well-worn upright piano’s wood frame is tattooed with travel character and bears scars from years of delightful punishment under the hands and heels of Low Cut Connie‘s frontman, Adam Weiner. This esteemed partner in musical crime played host as the crowd slowly filled the front of the room. It was clear to see that everyone was excited to catch the infectious energy of a Low Cut Connie stage show. This Philadelphia five-piece is known to pull off some serious antics on stage. Several fans in the crowd pointed to the large steel structural beam running overhead, extending over the center of the stage’s very low ceiling. Would they be able to rock out to maximum effect without causing serious cranial damage?
Will Donnelly (rhythm guitar), Luke Rinz (bass), Larry Scotton (drums), and Jimmy Everhart (lead guitar) filed onto the stage, limbered up, and settled into their instruments. Adam Weiner strode to center stage and straddled Shondra’s bench. After tuning up, he immediately climbed the face of Shondra and stood as tall as he could on her top, cautiously testing his head clearance.
“People of Columbus,” he shouted as he pointed to the steel rafting above him, “If I die here tonight, you’ll know why!” Then a few moments later, to cheers in the affirmative, “Are you ready to get weird tonight?!”
Everyone in the crowd was getting down as soon as Adam, Jimmy, and Will laid into their first chords. Their bluesy garage boogie sound distills the best elements of rock ‘n’ roll’s finest roots and delivers with a blast of frantic heavy soul. The entire band kept the energy high from the start and didn’t let up the duration of the set.
Low Cut Connie’s blistering set featured a solid selection of songs from Dirty Pictures, Part 1, their new album due out May 19, including Dirty Water, Am I Wrong, and the album’s first single Revolution Rock n Roll. Mixed between this tour-de-force were fan favorites from their past three albums, including Shake It Little Tina, Me N Annie, Boozophilia, and Rio.
Adam Weiner commanded the stage as he pounded, stood upon, leaned across, and backbended over Shondra’s sturdy frame. His daring keyboard acrobatics recall the showmanship of Jerry Lee Lewis combined with the glitter blues style of David Bowie, Marc Bolan, and Elton John. Adam conquered the crowd with the same outrageous intensity of Mick Jagger mixed with the soulful sex appeal of Prince. He didn’t hesitate to join the party on the floor and get down with those in attendance. The whole crowd was totally into the whole vibe for the entire night. They grooved and danced with smiling partners, sang along to nearly every song in the set, and lifted their glasses in cheer and praise.
It was hard to believe that this was Low Cut Connie’s first time in Columbus. Based on the incredible reaction from everyone in the room, it was easy to see that their music knows no bounds. The band took a moment to thank the welcoming support from long-standing and new fans alike, and the local radio station for their continued support to “help us little guys.”
“Without you,” said Adam, “we can’t compete with Bieber and Twenty One Pilots.” He reached his hands out to the crowd and shared some gospel truth: “Columbus, I swear to you, I swear to everyone here, if you stick together, if you stick with LCC, you’ll never lose!”
The night drew to a close, but Low Cut Connie showed no signs of letting up. “We’re gonna do something kinda fucked up,” Adam said, with a wry smile. “Something from my favorite band in New Jersey, who got together for like five seconds.” And with that, they launched into a ferocious rendition of “Where Eagles Dare” by The Misfits, chanting the chorus, “I ain’t no God damned son of a bitch,” at the top of their lungs. Following that surprise, they laid into the staccato, funky rhythm of the classic Prince hit, “Controversy.” The rest of LCC continued to jam out as Adam jumped down to spread his sexy mojo into crowd, giving hugs and high-fives in every corner of the floor.
Low Cut Connie once again made a new congregation of freaky believers to spread their lively message far and wide. With their upbeat groove and electrifying stage presence, don’t miss an opportunity to see this band live. You won’t regret it.
If you ask anyone in Goldmines how they’re doing, chances are they’ll say that they’re really busy. Cleveland’s femme foursome of Mandy Look, Jeanna Lax, Heather Gmucs, and Roseanna Safos are ready to keep their momentum going into 2017. After spending the end of last year supporting their self-titled EP release, Mandy and Roseanna took a moment from their relentless schedules to speak with Blown Speakers, before their recent performance with R.Ring and Split Single at the Happy Dog in Cleveland.
So R. Ring, are you excited to play with them? Mandy Look: Yeah. Roseanna’s like, “What, one of my main idols is stopping through?” Roseanna Safos: My only main, I mean, her, and the other one is Kim. You know what I mean? ML: Yeah. And she’s like, up there for me. RS: If I really explained how happy I am, it’d sound scary. We’ve played with Kelley. We’ve played with The Breeders before, and then we played with R. Ring, too. And then I’ve played with R. Ring too, with other bands. So we kind of know each other. My friend plays drums for her, so they asked us to do the show together, and I was really, really happy. ML: Yeah, it was awesome! RS: We were all just like “!” — Also Kelley Deal shared a Goldmines video, and that was pretty cool. So we’re excited for the show. I can’t wait. ML: I do appreciate how political Kelley Deal has gotten, too. Not incredibly political, but for the right reasons. Speaking for musicians, and about how we need healthcare, and how we need things like the ACA. We’re going to try to work different angles to be friends with her. So I may talk to her a lot. RS: Yeah. You do that. ML: Yeah, I’ll do that, and be like, “If you ever need a guitar player or a drummer, we’ll drive down and practice!”
Do you feel the same kind of commitment to those kind of issues? You know, being a band from Cleveland and experiencing everything that’s been going on lately? ML: Definitely. One thing that’s happening now is that you can’t do just one thing. It’s like the gig economy. You play in a band, but you also have to work a day job, and if you wanna be able to pursue any kind of art, you’re gonna be poor. Unless you’re born rich, you know? For the most part, like 99% of people. So I think those things are very important, to continue the arts and affect the community. Because, I mean, communities will just die out if you don’t have the artists, and they’re not really making money. I mean, not like they used to. Being in a band, I think a lot people don’t realize how much playing live music brings to the community. When you come see a band, you’re going to the restaurant next door to eat dinner, or you’re going to a nearby store to pick something up, you’re tipping the bartenders, you’re helping a small local business. RS: And you’re gonna spread happiness.
Ready for the split
The Thursday night dinner crowd at the Happy Dog comfortably occupied the back tables and choice spots along the bar. While most folks were enjoying a tall draft or a tricked-out hot dog, Roseanna and Mandy were both sipping coffee and fueling up for practice later that night.
ML: We’ve all been so busy lately! We can’t get together and speak! RS: But we’ve all been the busiest we’ve ever been, I feel. But we still do it. ML: Yeah, sort of. Yeah. We make it work. RS: We gotta get back on a regular schedule. We all want it. ML: I’m sure, as you know, everyone’s lives just get in the way. And it seems like we’ve got the most attention this year when we’ve been the least active, in a way. Which is cool. I guess it’s cause we released a record, so that helps push out things. RS: And it took forever for the split to come out. ML: Yeah, but it’s coming out at a good time. RS: Our split’s coming out with Shitbox Jimmy. Well, our record just came out, but our split with Shitbox Jimmy is coming out. Do you know where I booked the show for the release? You don’t know. But I booked it at The Phantasy Theater, just to be fun. I used to play there in the ’90s and had a ton of fun, and I know what it’s become. So I got a hold of them, and I’m like, “We’re gonna do it my way.” They were so excited to do it! We’re going to do it with my cover, one of my door people, no pre-sale, no credit charge. It should be a really fun show. A good excuse to go to the Phantasy before it turns into condos probably.
That’s a shame. It’s good that you got something going on with it, though. RS: I know! Actually the guy who books there, he was in my very first band in high school. So he was like, whatever you want. You can book it or play it, you can do whatever you want. That’s cool.
RS: The songs, that record, our split, Heather made like how many? Like, Heather does the Wax Mage thing. And I think they’re all sold out, the ones that she made. How many did she make? ML: I think 50? RS: OK, so that’s just her own thing, like she’ll make like 50 cool albums. When do we get them? ML: I think she said she was putting them into production. RS: It’s exciting! It’s gonna be really good. Shitbox Jimmy side is awesome, too.
So Wax Mage is Heather’s project? ML: Yeah, she and Sarah Barker, and they kinda just run it out of Gotta Groove. Gotta Groove lets them do what they want, and they just pay Gotta Groove for it in their time, which is awesome. For Gotta Groove, too, because they’re not taking ownership of them. It opened up a whole new world for Heather where she was kinda running a label. It’s just something she always wanted to do. Even though it’s not officially a label, but I think with Quality Time, they partnered up in a way, where Quality Time, they’re doing the work to do the distribution and stuff, and Heather does pre-sales to help pay for the record production. It seems to work. RS: And they do cool compilations. ML: And it’s cool for Cleveland, because people around the world are following them. With the Goldmines record, people have bought them across the country just because they’re more interested in the record art, in a way. But then they get the music and Heather’s like, “I’ve been getting a lot of feedback on the record.” And that’s cool. It’s good they’re not disappointed in the record they’re buying. So it’s very symbiotic.
Back in the van
On top of all of these preparations for their new release, Goldmines embarked on a tour of the Midwest through the month of April in support of acclaimed songwriter and Cleveland music legend, Craig Bell, formerly of Rocket From The Tombs, The Down-fi, and Mirrors.
RS: When I played with Bim in Obnox, he was just like everywhere. And The Gizmos. He saw Goldmines play at Studio-A-Rama. Mirrors played there, and he remembered when he saw me play with Obnox in Indianapolis. And then, when Goldmines played in Indy, he would go see us. So we know each other pretty well, but he just loves Goldmines. So he asked us to do it. He actually wanted to do more shows, but Mandy’s been super busy with her work. Craig Bell is the nicest man on Earth. He’s so active in so many projects like all the time. ML: I wish we could’ve done more. We were supposed to do a couple more. RS: Indiana would’ve been fun, but Mandy’s just busy. I mean, we’re all pretty busy. Very busy. But, that Columbus show we’re playing with DANA, too. Have you ever heard of DANA? Columbus band, DANA. They’re really cool. ML: Did you tell me about them? Or have I heard about them? RS: Uh, they’ve been playing a few times, they’re on Instagram and stuff. But they’re cool. They’re kinda harder. The lady plays like a Theremin. ML: Oh! Heather was showing me a video, she saw them playing on a thing. She said it sounds amazing. Oh she’s going to be so happy. RS: Well, I told her. And I’m like, “Yeah, I’ve known that band for a long time.”
RS: I got a new van. Well, I got a 2015 Dodge Minivan. Pretty new. It’s the nicest thing I’ve ever had. I’ve had, this is like my seventh one. Transmission issues. Always transmission. But that’s why I built my credit up like crazy. Because I never had credit. For this reason, for this van. So I got the van, saved up money. It’s pretty cool. We’re gonna hit the road and not be fearful. ML: Which is really exciting for our band. RS: So we don’t have to rent. ML: That stopped us. Actually, you wouldn’t think a van would stop you, like not having a vehicle to travel in. We used to travel so much because in HotChaCha we had a van, and going out of town was not a huge ordeal. You don’t take two or three cars. It’s like, now we can just hop into her minivan like a family. RS: One of the other things we did, we rented. And it sucked. And it’s so expensive! And then, before there, we borrowed a van, and then we had some trouble. And it wasn’t our van. We were responsible but felt kinda shitty and we kinda felt like, “What? Why are we..?” So I got a van.
Riding the next wave
While Goldmines continue to promote their latest releases, they’ve also focused on crafting new songs and sharpening their musical ideas. Their signature sound of sixties-style vocal harmonies doused in reverb-driven guitars and supercharged with hard garage rhythm comes from a wide range of influences.
ML: I think when Goldmines started I had this idea of us being ’60s influenced, kinda like the girl-group thing, but more like ’60s garage rock, you know? I just love it. Now, I’m like really into this idea of us being more like a Heart-esqe, glammy band. RS: Yeah, that would be cool. ML: Our new single on the split is really rockin’. It’s probably my favorite song I’ve ever written. It’s really tough and cool and rock ‘n’ roll. It’s cool, very cool. So that’s kinda where I’m drawing from. I mean, of course, I like everything. The ’90s is probably my prime time of growing up music. I’m trying to get back into that. I don’t really go on my iTunes. I don’t know, it sucks with technology. You get rid of all your CDs and you have all your iTunes. I don’t really even look at my iTunes anymore. But I need to get into it. Like, there’s too much Sebadoah I haven’t listened to, and I’m like, “I used to love that album.” Then I always think of all these other albums that I want to listen to, or these weird bands. RS: I gotta force myself to go buy a record this week. There are some new artists that really, really grab me, and I just have to have it, but not so much like I used to. ML: (to Roseanna) Are you drawing from anything? RS: Like in, us, in Goldmines? ML: I don’t know. I guess. RS: I’ve been trying to get into like a post-punk kind of thing. Well, because I heard some old HotChaCha stuff, that split we did with We Are Hex. And we were just fucking around, and it technically wasn’t that great, but what you did on your part was so good, well because you’re so good at that style, too. ML: I felt that kinda in Goldmines. Now I can play chords. RS: Well, yeah, because we’re not that band. You know what I mean? ML: In HotChaCha, I didn’t play one chord ever. I was just playing notes. RS: But you’re so good. You’re creative. ML: I don’t think I knew how to play chords. No, I did, yeah, I did! I just liked technology.
RS: (Notices song playing in the background.) Oh, I love this song. ML: We’re looking for a song to cover. RS: Oh my God! I would love to cover this! ML: I think we could cover this. RS: We’ll do it our way. ML: You know, we’ve had a lot of ideas. And then we try and do it, and like if it just doesn’t fit into how we are, you know, we don’t push it. Usually, honestly, I think everything I’ve covered we’ve been at a bar together and was like, “We should cover it!” We’ll probably end up covering this, because it’s just gonna — It’s like always a magical happenstampede.
Goldmines will perform next at the release show for their upcoming 12″ vinyl split release with Shitbox Jimmy on Friday, May 5th at the Phantasy Theater in Lakewood, Ohio. The “Cinco De Mayo” celebration is presented by Panza Foundation, Wax Mage, and Quality Time Records, and will include Goldmines, Shitbox Jimmy, Dime Disguise, and The Safeties.
Best known for his talents as the lead singer and songwriter of Toad The Wet Sprocket, Glen Phillips has continued to perform as an independent artist focused on honest storytelling and compelling songwriting. The latest stop on tour in support of his latest album, Swallowed by the New, was to a packed but chilly crowd at Cleveland’s Music Box Supper Club. The biting cold and rain on a wintery March night couldn’t stop his passionate fans from sitting in on this show.
But first, wrapped in comfy scarf, blue dress and rose cowboy boots, Amber Rubarth took the stage and warmed up the icy crowd with a selection of acoustic numbers. The comforting blend of indie country and folk rock from her upcoming new album Wildflowers in the Graveyard were lovely and her light, soft voice captured the intimacy and strength of her songs. Even her gentle spin on REM’s Losing My Religion recast the classic song in a new light. Later in the set, the crowd got a preview of Glen Phillips as he joined Amber onstage for a stirring guitar and vocal duet. Amber will be returning next month for the Cleveland International Film Festival in support of her starring role in the movie “September 12th.” The film discusses people’s compassion and coming together following the events of September 11th. Amber and co-star Joe Purdy will perform after the screening in Tower City on April 1st and 3rd.
Glen Philips was excited to finally feel better for once. After just getting over a recent bout of sickness, he was finally able to let loose, bringing smiles and laughs to the crowd and his friends onstage. Joined by talented musicians/songwriters Amber Rubarth and fellow Toad collaborator Jonathan Kingham, Glen featured a majority of the tracks from Swallowed by the New, while taking time to weave their stories and settings between songs. At one point, he told the story of how Baptistina was named for the original source of the asteroid that wiped out the dinosaurs, only to find out the source was later disproven.
Even though Phillips’ songs are emotional, the night was filled with fun and good spirits. His priceless reaction after his mention that the tour would be ending in Pittsburgh the following night was met with jeers and boos. “Is it a sports thing?” he asked innocently, before getting briefly educated about the infamous rivalry between the two cities. He started a new song, only to stop and remark, “You know, back in the day, this kind of hate was reserved for someone else breaking into your town and stealing all your sheep or something.”
The standout moment of the night belonged to Jonathan Kingham. Before turning the stage over to Kingham for a song, Phillips asked the crowd what they wanted to hear him play. Unanimously, we voted for “funky freestyle,” which Kingham obliged with a solo acoustic version of Every Little Step by Bobby Brown, complete with dance breakdown and off-the-dome freestyle lyrics. Bars included having the meatsweats from his pre-show shortrib dinner, and apologizing to the guy stage right for having to pay full price for a seat with a direct view of his ass all night. “You won’t normally see that at a Glen Phillips show!” he quipped at song’s end.
Glen’s voice is still as distinct and expressive as ever, with touching and tragic lyrics about love, loss, faith, his divorce, and hope combined with his signature folk-inspired songwriting. Even while Glen admitted on stage that “my songs are mainly about how sad I am,” each song of the evening’s set illustrated a wide range of feeling: from the forlorn lighthouse love song in the album’s opening song Go — which muses that sometimes the most loving thing you can do for someone is to let them go — to the closing inspirational, stomping, hymnal chorus of Held Up. Glen also played several popular songs and fan favorites from his Toad The Wet Sprocket years, including All I Want, Walk On The Ocean, and an encore crowd request of Crowing that got the room singing along and ended the evening on a high note.
With an amazing career spanning 30 years, Matthew Sweet has been the answer when it comes to guitar-driven power pop. His breakthrough records from the early 1990s, like Girlfriend, Altered Beast and 100% Fun, highlight the chord-ripping rock and endearing songwriting that set his style apart in the era of “alternative” music, much like Elvis Costello’s emergence parallel to the eruption of British punk in the 1970s. Like a true artist, he has continued to write, perform and collaborate on an astounding number of projects through the years — and shows no signs of slowing down yet. Matthew talked with Blown Speakers before visiting Cleveland on his current tour of the Northeast U.S., and discussed his next album, Tomorrow Forever, among other things.
Matthew Sweet: The whole thing is recorded. I still have to mix it, and I have to figure out what makes the album and what happens with the rest of the songs. I recorded 38 songs for it, so I’m going to try to figure out what the main album is.
There’s supposed to be a bonus disc that some people pledged for, and that was going to be demos, but given the time frame and I got started a little late, I mostly just made real recordings, so that bonus thing will also be full of studio songs.
Were there any direct influences that were drawing themselves out while you were making the new album?
MS: That’s hard to say. I think that it really just came from me. I’ve moved from living in a new place, and it’s kind of on its own steam. I wouldn’t say there was something I was particularly listening to or wanting it to be like. I just started picking ideas and doing it like I normally do, which is a little bit mysterious. I store up short minute long ideas or something. When I go through my day before I’m making a record, I’ll occasionally record little things and then save them up, or if I have nothing I’ll make them up that day or whatever when I need them. But somehow once they’re that little thing, it’s like the seed of what it’s going to be, and it just sort of becomes that. I just trust that it will and then it’s like magic or something.
I didn’t do a lot of thinking about what I wanted it to be like, but it has a wide range of stuff on it and I did try to make sure it has lots of different types of songs. For instance, I recorded it in three batches, and I think that the first batch had a variety of things, and then the second batch was a little more power-pop, and then the third batch was really slow, moodier type of stuff. But that’s the most I thought about it. I was like, ‘Well, I want to make sure I have slow stuff,’ you know?
Has being back in your old home state influenced the album, like how you were saying about a move back and everything?
MS: Well I guess your house and where you live is the most solid thing. I mean, for me, in my life, it doesn’t matter where I am in terms of doing music. I can do what I do anywhere, and I have. I’ve lived a lot of places, but there’s something about when you’re settling in and you have that comfort of your own space, and I think that did factor in somehow.
I grew up in Lincoln, and so Omaha’s really a bigger city than I grew up in. Although, Lincoln’s a good size, I mean the University of Nebraska’s there, it’s only fifty miles away from here. But it has been cool to connect to how I felt when I was really young. I’ve always been bad with remembering what all happened when I was little. I’d meet other people throughout the years who I grew up with, and I always felt like they remembered all the stuff, but I just didn’t remember it exactly. And there is a little bit of that being here — that I just can feel like I’m more connected with that part of my life. So there is something weirdly comforting about that.
Do you still have the home studio in your new place? How was it moving everything to a new location?
MS: I do. Well, that’s cool, too, to have a new room that I work in. I’ve never had a pro studio set up at home in terms of like “the room.” I’ve never built a room to be a studio. It was funny because when I sold my place in Los Angeles, it got in local papers and online, and it said I sold my home ‘with recording studio,’ but there was really no recording studio in it, except my gear being in one of the rooms of the house. And that’s really the same way it is here, but our new place had a really good room for me to do music in, so it’s always fun being in a new space doing that. It has been cool setting up my studio and making it my own sort of vibe.
You’re hitting the road in September. This will be your second time coming through Cleveland in two years. What is it that keeps you coming back to this area and do you have any favorite moments or memories about playing in Cleveland?
MS: I feel like there must’ve been a time where we didn’t come as much, and then we started coming more often a few years ago. I mean, back in the day, we came there and there were always great rock crowds, and we played a lot of different places that had different vibes and stuff.
Then we played the Beachland a few times over the last few years, and that was when we really started playing Cleveland again. We played there a few times, and then we played the Music Box, and we had a great time there. It’s a really nice venue, and spacious, and has a really good backstage and stuff. I have positive memories of it, so it’s comfortable.
But in general, Cleveland, it’s such a great music city and the Rock and Roll Hall of Fame is there, and I have some history with it. I had a really cool moment in my career when we got to play at an opening of the John Lennon exhibit that Yoko Ono curated in there in 2000. Two or three bands played at it, and we were able to meet Yoko and have her sign our little books at the exhibit. It was up in this room where they had a lot of John’s handwritten lyrics on walls. So that was a trip and is a cool memory from being around there. It’s always been a rock and roll town so it makes sense that it would be a place good for me.
Your songs have been used in a lot of popular movie soundtracks from the 90s and on. Has anyone asked you to write a film score or perform a complete film soundtrack, like Prince on the Batman soundtrack?
MS: Not really. I would’ve done it, I’m sure. I got close to that sort of thing. Unfortunately, when I probably could’ve done something like that easier was when my career was early enough in success. I was touring all the time and maybe didn’t have as much time to get into that sort of stuff. Later on, I’ve never really concentrated on trying to change the kind of work I do because I just like being an artist and writing my own songs. But I’ve always felt like I could do it pretty easily. I guess the closest I got was a little bit of incidental music in Can’t Hardly Wait, the teen movie. I had a song on the soundtrack of it, but I ended up with a little bit of background music for it.
Are you still crafting pottery? Is the Lolina line still going on?
MS: It is, theoretically. I have all my stuff here and I actually have a small garage just for doing pottery in, but I haven’t really set it up and started doing it. It’s been kind of a long break for me but I am going to get it going sometime soon. I got embroiled in the album pretty quickly after we moved and I’ve only really been working on that. Some of the rewards from the Kickstarter campaign include 3-D printed things that I’m making. I’ve scanned from pieces of my pottery, like a cat head, and then use them in building the 3-D things. I’m also making a bronze cat sculpture as one of the things people could get as an incentive. To do that, I think I’m gonna carve it out of clay, and then we’ll make some sort of a mold from it, so I’ve got to get into some clay and get it going. I’m thinking sometime this fall is when I’ll actually get all that stuff rolling and get back on the wheel. Make some things to get myself going.
I think that doing pottery, the way I do it, it’s very self-taught. I’m not like a pro at doing it, it’s my own weird way. I learned just a little bit from others, but kind of like my guitar playing, I just kind of learned it on my own. It has this thing about it that’s kind of like music, which is why I like pottery. Where you can get lost in it, and it’s hard to imagine how you did it afterwards, for me. I listen to a song I’ve done and I can’t really imagine where it came from. It’s sort of like when I said magic, that’s sort of what I mean.
I’ve got several pieces around the house that we ended up keeping though a lot was made and sold. When I look at pottery that I made over a few years ago, I go, ‘How did I ever make that?’ It’s hard to imagine how I knew how to do it on the wheel. It’s different from music because it’s like a solid thing.
I think I will be able to just do it still. I think, in a weird way, maybe I’ll be better at doing it even though I didn’t do it during that time. You go back to a feeling, and if you can get in that kind of a meditative state where you lose yourself, you can do it. That’s when it works. You know, pottery is really weird. Some days it just seems like you can’t do it at all, even for people who are great at it. Some days it’s just not happening, something’s wrong, and then you get in that sort of zone, and it happens. I’m more used to creating that feeling with music and a lot less used to it with pottery, but I still have faith in that concept.
How do you feel about the Kickstarter approach and using this kind of method to connect with fans and get your work out?
MS: I like it. It’s something I’ve always wanted to try, and I talked about doing it for a long time before I ever did one. I can’t say whether I’ll always do it through Kickstarter. In a way, I feel like it would be hard to do it multiple times or something, but what it gets for me is this fire under me to really try to do something great. I’ve really tried to make it come to life in a strong way, and it’s afforded me more time to spend on recording and record more things just out of wanting it to be very special. Because it’s paid for by fans, I want them to really like it. The only way I really knew to make sure it’s especially good was to just record a lot of stuff and then pick the things that just work the best. That’s been great, although it’s making it a little harder to choose what the album is. I’m getting close to that.
I think the hardest thing about it is that it’s taken me so long to do, and some people get impatient about it, although the vast majority are just really great and supportive. I think that trying to stay super engaged with communicating and keeping everybody happy is something I’m not as good at. I’m a person who’ll decide one day, ‘I want to do Facebook,’ and I’ll do posts or I’ll get engaged, but then the next day, I have no urge to do it. I just know myself in this way that. That’s been the hardest thing, I think, between me and the Kickstarter, is me giving enough extra stuff because I’ve just been so focused on recording.
Having said that, people are great and it’s really fun to give a big update and tell them where I’m at. Last month, when I got done with all the rough mixes and everything was recorded that’s going to go on all the parts, it was fun to tell everybody, ‘Look, here’s where it is, and we can see light at the end of the tunnel now.’ I just have to get all the rewards going and mix it this fall and we’ll be good to go.
If there was a (purely hypothetical) biopic movie of your life coming out either this year or next year, who would you want to play your role, and who do you see playing any of the other guys in your band, like Ric (Menck) and Paul (Chastain)?
MS: Ha! This is great. I wish I had a couple days to think about this. There’s a guy who looks like I looked when I was young. People tell me, ‘That guy reminds me of you.’ To me, he’s much cooler than me, and also a really cool actor. His name is Michael Pitt. He played Jimmy Darmody, the young, up-and-coming bootlegger guy on Boardwalk Empire. We may not really look that much alike, but he’s cooler than me and somewhat similar.
He can play me, and then, god, who could be Menck? Who’s really tall? You need someone tall and skinny so that’s the actor. Paul would be a smaller guy. I don’t know, I just have to think a little bit more about casting those two because it would have to really be right. In a way, Steve Buscemi would be good as Ric, but he’s not tall enough and he’s too old to be with Michael Pitt. Meet the older and the youngers, you know? Buscemi has the personality that’s a little more like Ric. But no, it can’t be all people from Boardwalk Empire!
Concert/photo recap, Music Box Supper Club, Cleveland, 9.13.2016
Instead of bootlegged whiskey, Matthew Sweet has been chord-running an intoxicating collection of hits and fan favorites as his fall tour winds through the Midwest and toward the Atlantic coast. His visit to Cleveland’s Music Box Supper Club proved to be another outstanding performance that his devoted listeners have come to love.
The night began with a rousing performance from Cleveland’s Chris Allen, known for his work in the bands Rosavelt and The Boys From County Hell. His brand of hard-strumming heartland rock with a subtle touch of Telecaster twang was a perfect match for the evening. Joined by Tom Prebish on bass, and Fred Perez-Stable on congas and percussion (instead of the usual drum kit because the kit couldn’t fit on stage in front of all of Sweet’s band’s gear), the trio delivered a strong, yet intimate set that included several Rosavelt favorites, like The Last Heartache and Perfect Girl.
Matthew Sweet arrived on stage to a packed seated house. As usual, he was joined by Ric Menck on drums and Paul Chastain on bass, both long-serving bandmates and the core duo of Velvet Crush, and featured the incredible non-stop talents of John Moremen on solo guitar.
Matthew’s set covered plenty of his popular singles, like Girlfriend, Sick of Myself, and Time Capsule, and also showcased signature tunes from his recent releases, such as Byrdgirl and She Walks The Night. By the end of the night, the crowd of steadfast fans in the audience got more hits and rock sweetness then they bargained for.
For more details on east coast tour dates and venues, and more news on the upcoming album, visit Matthew Sweet’s official website.